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.BEGIN VERBATIM
Example 25
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%6⊂⊗⊃L[α%0.00,α%-1.60]:XXX25.PLT[C1,LCS]⊂⊗⊃%1
.skip 6
.FILL INDENT 6
	In cases as above, where the bass (and often the soprano too)
moves stepwise, the problem of harmony versus counterpoint presents one
of its most perplexing facets.  In Example 25 it is completely
possible to conceive of the entire II%4B%1 as a passing chord
between the I%46%1 and the V.  It is argued by some that all harmonies
that occur over stepwise bass movement (excepting those that come
at the high or low point of such movement) have no functional significance.
If this view is accepted, some distinction (though not a hard and fast
one) must be made between the "structural" and "contrapuntal"
chords of a progression.  In situations including chromatic alteration
the problem is often simplified, since in most cases the alterations
serve to lead our attention to the main chords.
 
 
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.FILL
 
 
	The following examples serve to illustrate that the context
is the chief consideration in designating the relative importance of
chords.
.begin verbatim
 
Example 26.  Mozart, Sonata in A, K.300i (331)
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%6⊂⊗⊃L[α%0.00,α%-1.76]:XXX26.PLT[C1,LCS]⊂⊗⊃%1
.FILL INDENT 6
.NEXT PAGE
	Heard alone, the above is a simple ↓_D_↓: IV-V-I progression;
but heard in its continuing context (Example 27) the I chord
retrospectively becomes a pseudo %4A%1 chord.  Because of the use of the
A pedal at the starred (*) points and the fact that each of the two bar
groups presents the A chord on the strong beats, the F%4S%1 and D of the
D chord, even when moved to the bass, are heard as auxiliaries to E and
C%4S%1 of the A chord.
.begin verbatim
 
Example 27
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%6⊂⊗⊃L[α%0.00,α%-2.74]:XXX27.PLT[C1,LCS]⊂⊗⊃%1
.skip 11
 
.FILL INDENT 6
	Despite the two-part presentation, the essential movement of the
following passage from Bach's %2Partita%1 #5 is clearly heard as a
descending series of chords; VI-V-IV-III-II.  Needless to
say, the progression found in the details (VI-II | V%47%1-I | IV-VII |
III%47%1-VI | II) does exist.  But the context causes us to hear the
alternate chords (II,I,VII,VI) as subsidiary to the other
chords.  The fact that VI-V-IV-III-II hardly constitutes an
exciting harmonic progression does not alter our hearing of this
passage.  It must be understood that, in the largest sense, this passage
gives us a movement from VI to II.  In relative terms, the main
harmonies in between are passing chords, each elaborated by chords
at the 4th above.  However, the %2particular%1 effect of the
example depends on the functions of all the harmonic details -- VI-II
V%47%1-I -- etc.